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Media Measurement

Consumers have more media content, channels and more choice of devices than ever before.

Advertisers, media owners and media buyers need to identify which digital and traditional channels are most successful at attracting the right audiences.

Our audience measurement solution is the trading currency for television (e.g. TV ratings), print, radio, out-of-home, online and mobile media. We track which consumers are using what channel, how they are engaging with content across each medium and what is driving their behavior.

With this detailed view of consumers’ content appreciation our clients not only get ratings of what people are watching or listening to – they also know why. Our cross-media measurement shows what devices your audiences are using for each channel and type of content, and we evaluate your marketing efficiency and performance across the whole spectrum of channels.

We help you optimize your channel selection and content to deliver increased audience engagement, end-to-end.

Read more about Media Measurement

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Success Stories
  • Connecting the dots between digital and traditional media

    Connecting the dots between digital and traditional media

    15.03.2016

    We investigated the role of social media chatter in generating awareness and readership of Vanity Fair’s Caitlyn Jenner issue.

    Vanity Fair is an influential and iconic magazine published by Condé Nast.

    Situation

    Most media planners crave insight and data about how digital and traditional media can work together. The much talked about issue with Caitlyn Jenner on the cover offered us a perfect opportunity to explore this topic. We wanted to investigate what impact, if any, the social media buzz can have on the readership of the July issue in its traditional printed format.

    Approach

    Over a nine-week period, we surveyed 1,798 adults online who said they had read the July issue of Vanity Fair.

    Outcome

    • Four in ten adults who read the magazine first heard about the Jenner cover on social media
    • 40% of adults (ages 18+) who read the July issue had not read Vanity Fair in the previous 12 months
    • Nearly half (47%) of those readers were aged 18 and 34, indicating that the coveted millennials do read print magazines, contrary to the conventional wisdom
    • The big challenge for publishers is generating awareness among these younger readers – and it looks like social media can help with this

    Click here to download the success story

  • Optimizing TV content for a demanding audience

    Optimizing TV content for a demanding audience

    31.01.2016

    Our research helped this TV network shape its new television show featuring a Brazilian icon.

    Situation

    A broadcaster needed information about how viewers would respond to a popular entertainer’s return to the airwaves after a short absence. After the launch of the program, the company wanted to track the audience’s response to its format and content.

    Approach

    We explored social media conversations to determine which elements viewers might value in the show, and how these aligned with the host and the network. A subsequent quantitative study gauged the target audience’s intention of watching the program.

    After the launch, we tracked viewers’ behavior and opinions by integrating social media insights with audience data from the broadcaster and data from our online panel.

    Outcome

    We found that Brazilians were receptive to a new show because television program options during the evening time slot were limited.

    After the launch, we tracked user-generated content on social networks to see what elements of the show were resonating with the audience. This information helped producers strengthen the show’s content.

    Our advice also helped the commercial team to target sponsors with brands that would be a good match for the profile of the program and its audience.

    Click here to download our success story (short version)

    Click here to download our success story (long version)

     

     

Latest insights

Here you can find the latest insights for Media Measurement. View all insights

    • 02/03/16
    • Media and Entertainment
    • Technology
    • Media Measurement
    • Mobile and Location Insights
    • Canada
    • English

    Smartphone Users Spend as Much Time on Entertainment as Texting – GfK MRI Study

    According to new GfK MRI research, today’s smartphone user is just as likely to be seeking mindless entertainment – playing a game or streaming a video – as connecting with friends and family through texting or other modes. 

    • 01/21/16
    • Media and Entertainment
    • Technology
    • Media Measurement
    • Canada
    • English

    Is it a Netflix world after all?

    Netflix’s recent announcement of their international expansion in 2016 is not unexpected, but still somewhat breathtaking in its scope. While it may seem natural to those in the United States, where Netflix holds a dominant position in the Subscription Video on Demand (SVOD) space and in other early markets where it is a well-known brand, but this latest overseas growth is not as much “a sure thing” elsewhere.

    Eight key concerns for entering developing markets

    Certainly Netflix will enter these new markets with a well-known brand name, which may be less connected to its actual content than to the fact that US-originating digital brands often have a leg-up on local brands. Netflix will generally appeal to affluent, Western-oriented consumers outside of the North American and Western European markets. But Netflix will have a number of concerns when entering these other developing markets that make up much of the dozens being added. These include:
    • Local competitors in the Pay TV or streaming space may themselves have a dominant position. GfK works with a number of providers in the markets in which Netflix has newly launched to understand how their services are consumed. We often see a large cohort of subscribers actively viewing the kind of on-demand content that Netflix dominates in the US. These are consumers who are well served by streaming or on-demand content. For example, local South East Asian player iFlix has already built up an impressive half million subscribers in a short space of time.
    • The streaming rights to local content of interest may be held exclusively by other services.
    • The streaming rights to even Netflix’ own content may still be controlled by other providers, based on older agreements.
    • Netflix’ original, exclusive Western-focused content may not have an appeal in different cultures. Again, GfK’s work in providing Return Path Data (RPD) services have taught us that local content is absolutely crucial in building a strong customer base – even in markets where the kind of Western-oriented programming in which Netflix concentrates is popular. Netflix itself recognizes this by focusing much of its strategy on creating local content for its various markets.
    • There may be local laws regarding a certain level of locally originating content.
    • Internet access in certain countries may be limited across the population or intermittent.
    • The governments or entities controlling Internet access may arbitrarily cut access based on disagreement with content, or may use such power to censor or control what content is offered.
    • In many markets, particularly in APAC, advertiser-supported or illegal websites are often well established as sources for watching video content. So there may be resistance to paying for content that consumers have traditionally accessed by other ‘free’ means.

    Netflix’s big data advantage

    That being said, Netflix has consistently outperformed expectations of industry experts and those in the financial markets. Its daring moves in the past have mostly panned out. And, aside from content, it has an understanding of its consumers – through the use of its own collected big data – with which few of its potential competitors can hope to compare. As for its competitors, frenemies, and partners – some being all three – the growth of Netflix raises questions that only third-party accounting of Netflix can answer. This way their competition or partnership with Netflix is on a more level playing field. What do you think about Netflix’s expansion? Do you see other challenges? I would like to hear your opinion as well.
    For more information, please contact me at david.tice@gfk.com.
    • 11/25/16
    • Media and Entertainment
    • Media Measurement
    • Global
    • English

    GfK spins out Genius Digital’s Subscriber Intelligence Business

    Genius Digital has been bought back fully by its founders. GfK retains the powerful return path data and analytics capabilities which have grown substantially under GfK’s ownership.
    • 11/22/16
    • Media and Entertainment
    • Media Measurement
    • Global
    • English

    Stranger Things happen – Netflix original programs continue to hit the spot

    When Netflix released Stranger Things mid-way through July 2016, few people would have predicted the scale of the show’s success. Within its relatively short life span, Stranger Things (a series that is part of the ever expanding list of Netflix originals) has been celebrated by critics and Netflix users around the globe, by bringing a (perhaps, up until its release, slightly less fashionable) sci-fi TV format to TV screens in 2016, without losing any of the charm that people associate with the classics of that genre. Many commentators have speculated that the show would appeal to those who love the sci-fi classics of the 80s, as well as introducing the genre to new audiences, so we decided to look at our SVOD tracker data to see who exactly is watching this show.

    Who is watching Stranger Things?

    Firstly, let’s look at the profile of those watching the show: Compared to all Netflix users, the Stranger Things audience tends to be younger (they are more likely to be in living in a household with parents and other siblings, but less likely to have children around) and the appeal to both genders is more evenly balanced compared to other shows. Looking at age, 65% of those watching Stranger Things were 18-34. In fact, Stranger Things has one of the youngest audiences compared to any other major Netflix Original (with the exception of Making a Murderer, which has similar gender and age splits). This could be influenced by the subject matter of the two shows (sci-fi vs politics) but also perhaps because Stranger Things is a less familiar (and in a way, newer) format in today’s TV landscape, which could have triggered interest amongst younger users. It should be noted that these younger audiences are also more likely to consume video content on connected devices other than the TV screen.

    How was it watched after release?

    After being released on July 15th 2016, Stranger Things became a hit almost overnight. Even though it was only available for half of the month, it was the 3rd most streamed title in our SVOD tracker in July ’16, moving up to become the 2nd most streamed title in August ‘16. In September, the show was still the 2nd most streamed title, only ranking behind Narcos, which had released the 2nd season of the series at the beginning of the month. The release format that Netflix uses, releasing an entire season’s worth of episodes at once, is highly conducive to binge watching. Among those that binge watch shows, Stranger Things has the highest proportion of people streaming 4+ episodes, proving that people have been bingeing heavily on this series in the first weeks of its release.

    Are people enjoying watching Stranger Things?

    When asked to rate the program on a scale of 1 to 10, in terms of viewing satisfaction, Stranger Things (with a score of 9.0) delivered slightly better content ratings than other shows on Netflix (whose average score is 8.5). However, it is worth noting that Narcos and Making a Murderer also scored a 9.0 average content rating, which shows that Stranger Things is in-line with other recent Netflix Original releases on this measure (the average content rating for Netflix originals is 8.8).  Could they be listening to feedback from their audience to make more enjoyable programs? Stranger Things has been a success for Netflix – the data in our SVOD tracker shows this, but the announcement that Netflix have already commissioned a second series is clear evidence that this is true. In my opinion though, the key success of this show was that a higher proportion of younger users (16-34s) seem to be engaged with this title. If Netflix is to continue successfully expanding globally, it will need to make sure that it retains the attention of this audience, especially in a market where new video services are launching every day on a variety of devices, and vast sums of cash are invested into original content to try and capture market share. Having said that, if Netflix keeps successfully producing new program formats (or reviving old favorites), then they have a good chance at cementing their position at the top of the SVOD market even further.

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